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In God's Hands

In God's Hands

1998

PG-13

Director

Zalman King

Runtime

96 minutes

Average Rating

No ratings yet

Synopsis

Three pro surfers - gifted Shane, once-great Mickey and rising young star Keoni travel to Madagascar, Bali and Hawaii in search for the ultimate wave.

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Diversity & Representation

Overall Score

3.8/10

Limited


Category Breakdown

LGBTQ+ Representation

Limited

The film lacks explicit LGBTQ+ characters or narratives. It focuses on the camaraderie and competitive drives of male surfers, centering on traditional masculine bonds.

Gender Representation

Fair

The narrative architecture is male-dominated, driven by the characters Shane, Mickey, and Keoni. There is little evidence of women occupying roles of significant agency or intellect.

Racial & Ethnic Diversity

Fair

Settings in Madagascar, Bali, and Hawaii provide a framework for ethnic diversity. The character Keoni suggests a move away from purely Anglo-centric storytelling.

Religious & Cultural Diversity

Limited

The film likely engages with traditional spirituality or faith. The plot focuses on individual excellence and mastery rather than critiquing Western institutions or secularism.

Disability Representation

Minimal

There is no documented evidence regarding the inclusion of characters with physical or neurodivergent disabilities.

Strengths

  • The international settings in Madagascar, Bali, and Hawaii provide a natural foundation for geographic and ethnic variety.
  • The inclusion of characters like Keoni suggests a departure from strictly Anglo-centric narratives.

Areas for Improvement

  • The narrative is heavily male-dominated, centering primarily on the drives and bonds of male surfers.
  • There is a lack of visible LGBTQ+ representation or narratives that challenge heteronormativity.
  • The film lacks evidence of characters with physical or neurodivergent disabilities.

AI Analysis

In God's Hands follows a traditional adventure arc centered on male protagonists. While the international settings offer potential for multiculturalism, the core narrative remains anchored in conventional masculine pursuits. The film relies on established tropes of spiritual struggle and individual mastery. It lacks the structural complexity needed to disrupt social hierarchies or provide meaningful representation for non-cisnormative identities. Ultimately, the work functions as a genre-standard exploration of professional surfing, prioritizing aestheticism and competition over diverse social perspectives.

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